Description

Katherine Mansfield’s arrival in London in 1908 marked the start of her professional career as a writer and this study marks a revival of her reputation as one of the foremost practitioners of the short story.

The international line-up of contributors attests to Mansfield’s global appeal. By discussing her fiction in relation to her life, the contributors to this critical work present reinterpretations and readings. Enhanced by new transcriptions of manuscripts and access to her diaries and letters, these readings combine biographical approaches with critical-theoretical ones and focus not only on philosophy and fiction, but class and gender, biography/autobiography.

The historical and aesthetic studies of Mansfield's work all take place within a framework of modernist literature, criticism and theory, thereby expanding our understanding of what it means to be a Modernist while allocating Mansfield a firm place in any current study of Modernism.

Editors

Janet Wilson, Janet Wilson is Professor of English and Postcolonial Studies at the University of Northampton, UK, Research Fellow in New Zealand Studies at Birkbeck, University of London, and Co-Editor of the Journal of Postcolonial Writing.

Gerri Kimber , Gerri Kimber is Associate Lecturer at The Open University, UK. She is co-editor of the literary journal Katherine Mansfield Studies.

Susan Reid, Susan Reid is Associate Editor of Katherine Mansfield Studies and Reviews Editor for the Journal of Postcolonial Writing.

Reviews

‘Few publications have declared, with such vigour or such clarity, that rather remarkable rise in Katherine Mansfield’s reputation over the last two decades, her moving from her slot as minor writer to a central role in Modernism, as does this fresh collection of essays by younger scholars. ‘The most emblematic woman writer of her time,’ the New York Times Book Review has called her. These essays take up the challenge to ask why and how this is so, as they read her with flair and depth against the literary and philosophical currents where she now takes her place. We can no longer consider twentieth-century writing without Mansfield among its key figures, her fiction and letters among its enduring texts.’